Posted 03 March 2002 - 11:12 PM
(And I'm not complainging about the "Sleeping Beauty" thread - I'm fascinated, and all you who've had a chance to see the Kirov should -- PLEASE -- keep at it, post any observations and all that come to mind about it..... DId it have a BIG FOUNTAIN when the Lilac Fairy came to the rescue? You can hear it in her music -- what was it like? Has anybody else ever thought of Aurora's balances in the Rose Adagio as rising like a fountain, for I remember Elizabeth Loscavio just rising out of the ground like a fountain....
I'm eager to know about Serenade.... how much has it changed since White Plains? did Balanchine choreograph all 4 movements for the Warburg estate performance? when did the pirouettes>Giselle whirls come in, how far back do they go?
I think it's generally thought that Balanchine tinkered with it a lot over time, but is that so? How has it grown? Has any ballerina ever dominated it? Anybody remember what RUthanna Boris was like in it? or Allegra or Maria or Tanny? or Gisella Caccialanza?
[ March 03, 2002, 11:16 PM: Message edited by: Paul Parish ]
Posted 03 March 2002 - 11:23 PM
Since your questions are mostly about 'way past performances, I'm going to move this one to Ballet History and see what comments it fetches smile.gif
Posted 04 March 2002 - 01:16 AM
Some of the textual changes in Serenade are documented in "George Balanchine: A Catalogue of Works" - here's what it says -
Male dancer added to the Waltz in '36.
The solo parts were combined for a single ballerina in '40 for the Ballet Russe de Monte Carlo, also two men were used. The Tema Russo was added at that time and Tchaikovsky's original scoring was used, rather than George Antheil's as was used originally. The three ballerinas started wearing their hair loose in the Elegy in approximately 1977. It also states that in the NYCB production that toured to London in '50, five ballerinas divided the solo parts and productions in '53, '55 and '58 had four ballerinas. The steps were essentially the same, but divided differently.
When I did an interview with Barbara (Milberg) Fischer in '97 she mentioned Balanchine making small changes to Serenade in the 50's ("Tchaikovsky came to me in a dream last night and said it was all right.")
Posted 04 March 2002 - 12:14 PM
It must have looked very different. But I gather from a contemporary account (Lincoln Kirstein's sister) that Balanchine was delighted with the costumes.
[ March 04, 2002, 12:18 PM: Message edited by: Alymer ]
Posted 04 March 2002 - 04:14 PM
Posted 05 March 2002 - 02:10 AM
right now, I'm speechless -- I've got to sleep on this.........
Why do I care so?
Posted 05 March 2002 - 03:09 AM
Annabelle Lyon: "When he originally did Serenade in 1934, the first movement concluded with the entire cops de ballet doing a sequence of fouettes (later he changed it to pique turns). I couldn't do fouettes, so he had me run offstage just before that. Then, before the waltz began, he brought me back. I was one who comes in late, looking for her place. Now when people try to put a meaning to that, it always tickles me."
Marie-Jeanne: "Today, when Serenade is danced, it is very Fokiney. But it was not at all like that. It was very sharp, very precise. Balanchine redid Serenade for me. He reset it so that I did all the little solos at the same time that he added the Russian dance. This was in 1940 for Denham Ballet Russe. Later on, I danced Serenade with the New York City Ballet.
Danilova: "I danced in Serenade (at the Ballet Russe de Monte Carlo). At that time Serenade only had one heroine. The girl in the ballet who leads the boy to the girl who lies on the floor is his wife. I asked Balanchine who she was, and he told me that. She was his wife and together, he said, they pass down the road of life. I, the girl on the floor, was pitied by the man, but I was a fribolous girl who had one affair after another. Then I was left alone."
[ March 05, 2002, 06:44 AM: Message edited by: Dale ]
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